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{Preface. 

^/Cfmona the thousand of technical books on the market to-day you will find 
^f £ surprisingly few on the subject of sign and show card writing, although such 
a book is in considerable demand. Everything I have read on this subject 
has failed to fully answer the requirements, usually for lack of simplicity. The illustra- 
tions and instructions given therein were hardly comprehensible, and still harder to 
execute. Therefore I endeavor to give my hints and suggestions as plainly as possible. 
While I devote this book to my fellow window dressers who are compelled to do 
their own lettering, and to those who wish to become masters of the art of card-writing, 
I feel inclined to address them beforehand, with a few words of encouragement. M\ 
own experience has taught me that many young men lose all confidence in themselves 
if they can't comprehend the whole art in an hour or two. These are the gentlemen 
whose attention I wish to call to a few striking points. I wish to instruct them how 
to start properly. Any ambitious and industrious man will meet with little, if any diffi- 
culties at all in learning this art. I strongly hope that with this book you will overcome 
all difficulties, as the method of instruction herein adopted is the simplest, most pleasing 
and comprehensive. 



All beginnings are hard, but where there is a will there is a way. Bear this in 
mind if you wish to become an accomplished card writer. If you do not succeed at once 
put your work aside for a while, but do not fail to pick it up again. Do not lose 
courage; do not give up too soon, try your best and stick to it. If you follow my advice 
you are bound to earn the fruit of your ambition and perseverance, and soon will be 
astonished at your own accomplishments. The every day lettering is simple and easy 
in execution, and as soon as you know how to make a plain, single-stroke letter you 
will find the work pleasant, and by your own impulse become fond of practicing. You 
will then rapidly succeed in making the more difficult letters, and soon master the entire 
art of card-writing. In other words you will know how to make 

Effective Show Cards. 

However, no man was ever known a born expert, and Rome was not built in a day. 
Time and practice will lead to perfection. A beginner needs encouragement. I 
remember quite well when about four years ago I began to learn how to write a show 
card, that I had to be encouraged almost every day. I would by my own impulse 
hardly have given the brush another trial, when after my first effort I had very foolishly 
drawn the conclusion that I would never be able to handle the brush. I placed but 
little confidence in myself, but gradually improved; and, observing this, I took a greater 

6 



interest in the work, and used all my spare time for practicing. This way I traveled 
step by step until I acquired my present ability. 

I have taught card writing to a few friends of mine, who at first considered them- 
selves unable ever to write a card, but contrary to their expectations they soon attained 
great proficiency, and to-day are not obliged to ask any bod)- to work for them. This 
fact leads me to believe that with courage and an earnest effort almost everybody can 
learn this art. 

Hoping that this book may be favorably received and serve you as a competent 
teacher, that goes into every detail with you, I wish you most heartily success and ad- 
vancement, the best fruit for ambition and perseverance. 

A. H. REUPKE. 



/r '*"** of all it is most important and absolutely necessary for a beginner to 
^f know what kind of brushes, paint and cardboard to use, how to prepare paint, 
etc. Badly mixed paint, as well as a poor brush are enough to discourage 
even an expert. 

Pay particular attention to these points. A great deal depends on what kind of 
tools and material you use for your work. I have often observed that a poor show card 
spoils the entire effect of a well dressed window. Many window dressers devote all 
their time and efforts to their displays, neglect the art of show card writing and forget 
that an attractive card often sells more goods than the rest of the window. An up-to- 
date dealer in general merchandise once made the remark to me that a show window 
without a well-worded and attractive card was like a tree without fruit. And he further- 
more told me that since he had placed such cards in his windows the sales of goods 
thus shown had so greatly increased that often in the course of a few days the entire 
stocks were sold out. These facts are marvelous results ; therefore every window 
dresser should be very careful in getting up his show cards. A little more time and 
care spent on this work will always produce good returns, will elevate you in the esteem 
of your employer, increase your salary and fill your heart with self-confidence and content. 

9 



While some card writers have adopted the use of oil paint exclusively I empha- 
tically disapprove of this method for several reasons . 

Any kind of oil paint needs to be mixed with the greatest care, if not, it will leave 
an ugly, yellow border around your letters, (on account of too much turpentine), or if 
too little turpentine is used, the paint will not run freely from your brush, but remain 
stiff and sticky (pasty). If you use benzine, which will be found better than turpentine, 
the paint will dry up too quickly, and has to be thinned every little while. In other 
words, you will hardly ever have your paint in proper condition. To mix the fancy 
colors requires still more care and labor. Besides this kind of paint is costlier, and the 
work not as clean as that done with water colors. 

The latter are preferable, as it is easier to work with them, they are cleaner to 
handle and cheaper; they keep moist longer, and as a matter of fact they cover better, 
the effect being prettier and more perfect. 

To procure an excellent black paint, buy some dry lamp-black, LaPage's liquid 
glue and some alcohol, put some lamp black in a cup, glass or saucer, pour in enough 
glue to stir these two substances to a regular thick paste, and after this thin it up with 
water, so that it becomes almost as thin as ink. Do not fail to stir it thoroughly, and 
if you still find small portions of the lamp black on the surface of the paint add a few 
drops of alcohol to it, which will disolve it instantly, and your paint is ready for use. 

10 



This kind of paint you will find surpasses any other, and in my estimation ought to be 
used by every card writer. 

The high grade vermillion red and the white lead require, like black, a little alcohol, 
while all other colors mix well without it. Lamp black requires a very strong sizing, 
which is the reason why the liquid glue is recommended. For all other colors the 
common mucilage answers as well. 

In a few exceptional cases the oil paint may give better satisfaction. Whenever 
you have to expose your cards to rain or any other moist influence, which will effect the 
water colors, the former is preferable. In this case buy a can of ivory, or drop black 
paint, ground in [apan, and thin it up with benzine. As stated before this will give 
better satisfaction than turpentine. This will give a dull jet black paint. 

If you wish to have a glossy, shining black, use the turpentine for thinning up and 
add some varnish, which will furnish the mixture desired. Treat all others the same way. 

If you wish to tint or blend the back ground of your cards in one or different col- 
ors take a soft piece of cloth or some cotton, dip it in your dry paint and spread the 
latter freely over the card, in the manner a barber will powder your face. Then take 
another clean rag and rub the paint hard on the card. At last do your lettering and the 
tinting will show up very prettily and to much advantage 

If occasionally, especially for the Christmas season, you wish to make your cards 
very elaborate and attractive the tinsel, or properly named the metallic, and the diamond 

11 



dust will be found quite appropriate. Apply it in the following manner : Dip your 
brush in some mucilage, and draw your lines wherever you wish, to show the metallic 
or diamond dust, which will, by shaking the card stick fast to the mucilage, while the 
balance can be gathered up and be used on the next occasion. 

I have lately given the "VELVELETTE '.' the famous new invention for window 
dressing, (see advertisement) a trial on show cards, and, indeed, to my greatest satisfaction. 
Every window dresser, or the merchant himself, endeavors to bring out something new 
to attract the passer-by's attention to the show window. The same can be done with 
a novel show card, with a card that nobody else ever displayed. Velvelette has 
enabled me to produce something entirely new in this field. It is easy to execute and 
most attractive to the eye. Use the velvelette in the same manner as you have learned 
to apply the metallic and the diamond dust. Thus you can paint the whole card to good 
advantage, while a still prettier effect will be obtained if you write your card with the 
regular paint, and use the velvelette for shading. It is made in all colors. The edge 
of the velvelette thus handled is very sharp and distinct, and the effect perfect. In fact 
it will appear as if small stripes of genuine velvet were cut out and pasted on to your 
card. It deserves a trial by every card writer. 

Ciold and silver paint which always make a rich effect, especially for borders and 
shading, are prepared exactly like the lamp black, mixed in liquid glue, water and 
alcohol. 

12 



Much may be said in regard to harmony of colors and shading. This must be left 
entirely to the fancy and taste of the artist. It is poor taste to use too many colors on 
one card, and often you find a lack of color harmony exposed in a card, thought to be 
more attractive if it represents all the rainbow shades. A plain white card with black 
letters of the plainest type, or vice-versa, a black card with white letters always is the 
richest, most admired and most effective show card. On the other hand, if a card 
writer tastefully displays a few different colors in harmonizing contrast, he will assuredly 
create great attractions, and derserves all credit for his taste and skill. 

The following colors are considered the most applicable, attractive and harmonizing 
in contrast. 

A. Capital letters and border scarlet, small letters black. 

B. Price figures and border dark green, lettering dark red or reversed. 

C. Ultramarine, or navy blue, shaded with light blue. 

D. Dark brown, shaded with lighter brown or yellow. 

E. Plain black lettering, with light blue, purple, red, light green or yellow border. 

F. Black lettering with black border and light blue, purple, red, light green or 
yellow shading. 

To produce the following shades mix the following colors together: 
Green — yellow and black or yellow and blue. 



Light blue — ultramarine and white. 



13 



Purple — red and ultramarine or red, ultramarine and white. 

Pink — red and white. 

Gray — black and white. 

Brown — black and red. 

Orange — red and yellow. 

Cream — yellow and white. 

jtffi-y. >' ou have thus learned how to prepare and apply the different kinds of paint 
be sure to secure the proper kind of brushes. 

It has been my experience that there is no equal to a red sable brush, which will, 
sooner than any other kind, enable you to draw a smooth and steady line. Buy a set 
of brushes of six different sizes. Numbers i, 2, 4, 6, 8 and 10, of the best long hair 
red sable brushes, which will cost about $2.00, and form a complete outfit. If desired 
I will select brushes and send same prepaid for $2.00, that will, if handled properly 
last from five to ten years. To keep them in good condition it is necessary to wash 
them out thoroughly every time after you have used them, so that no paint will ever 
dry up on your brush, which would soon destroy it. 

It is harder to work with a new brush than with one you are used to, for you can 
work a brush into regular shape, which will greatly assist you in your work. This 
means, you can, by wiping your brush from two opposite sides on the edge af your 

14 



glass that contains the paint, form it into the shape of a wide stub-pen. This will en- 
able you to draw with the largest brush in the set, No. 10, a fine hair line as well as a 
heavy one-stroke ground line, which is of greatest importance whenever you have to do 
fast work. You can also make sharper points or corners (observe this on the plain 
block letter), which would otherwise require twice the time. 

Never attempt to cut the hair of your brush, whenever a hair sticks out, pull it out 
entirely, the only means to get it out of your way. By cutting the brush it will become 
absolutely worthless. For this reason purchase the very best, and you will have no 
trouble at all in this respect. The red sable brush is very elastic and resistable, which 
a camel hair brush is not, and you can draw more graceful and smoother lines with it. 

Never use the same brushes you work with in water colors for oil paint, as this 
will affect their elasticity and soon kill their life. For oil paint keep an extra set of 
black sable brushes, these are still harder than the red, and can endure more. 

rf t to the different kinds of cardboard I wish to state that I prefer a 

<y rough surface to the glazed. The latter is very good for oil paint, 

while for water colors a plain blank board is more desirable. For price tickets a 4-ply, 
while for larger cards a 6 or 8-ply cardboard is the best to use. You can draw better 
lines and the paint sticks better; besides it gives a more perfect and refined effect than 
the glazed cardboard would. The latter is used but little and hardly at all by an 
experienced card writer. 15 



TThn frkJ/f\ ' suggestions and hints will be found valuable to the beginner: 

sJ Try to work fast while you practice. Do not waste too much 
time on your letters in order to make them more perfect than you get them on the first 
stroke. Time and ambition will lead to perfection. If you are too particular and 
severe you will always remain a slow worker, and as a matter of fact small defects on 
a letter will scarcely be detected on the whole card by the average passer-by. It is 
more the artistic arrangement of the lettering than the perfectness of each letter that 
make a show card attractive. 

Be careful to space well. Before you commence to write your card, lay out the 
space very carefully so as to get the reading matter well in the center, and make it a 
rule always to leave a broad margin around the wording. In the beginning mark your 
letters with a lead pencil first and erase the marks left after the card is finished. You 
will soon acquire the ability to write the common every day cards without lining out 
with pencil, and to space well. 

An artistic or very elaborate card should always be lined out first. The greatest 
expert is liable to make a mistake by misspelling, etc., which he would surely detect if 
he used his pencil first, while otherwise his time, work and material would have been 
wasted. 

As a rule use a plain, neat style of letter, and the more elaborate only on special 

16 



occasions, for any fancy display for the holidays, for special novelty goods, etc. If 
you write a card reading "FIRST DISPLAY OF LATEST NOVELTIES IN 
FALL SUITS "do not write the whole reading matter in one type of letter or 
in one or two lines. Your own taste will suggest you to write these words in three 
lines and two different types. The first line reading "FIRST DISPLAY "and the 
second line reading "OF LATEST NOVELTIES IN" want to be written in a 
small but distinct style of letters, while the third line reading "FALL SUITS" may 
be elaborate and bold so as to attract the eye and be read from a distance at the first 
glance. Thus try to cultivate your own ideas and taste. 

By carefully observing how the different alphabets and cards herein illustrated are 
made you will soon succeed in copying them and in time master the whole art. 

All the illustrations in this book are the exact reproductions of my work and show 
in many cases small defects which, however, are the natural defects of off-hand card 
writing and serve to show you every movement of the brush. 

(J$ /* tt » which has lately become so popular and is done by almost 

S/ every modern card writer may be adopted for part of your 
work to excellent advantage. It is especially recommendable for small cards and prize 
tickets, and whenever small letters are required. You can accomplish much with the 

17" 



pen, and the neatest, nobiest and most attractive cards can thus be written. The last 
six cuts in this book illustrate a few samples of this style of lettering. 

It requires less practice than painting with brush to learn it to perfection, and by 
earnestly trying your best you will soon find it pleasant and easy work. 

Buy a few of Soennecken's round writing pens and a bottle of Sanford's gloss 
black ink, which can be procured at any stationary store and see what you can 
accomplish. 

Learn to make the simple strokes first like illustrated and then follow the style of 
lettering shown, as this letter lends itself easily and gracefully to the pen formation. 

Embellishments may be added to the letter by a common writing pen to suit your 
own fancy. 



18 



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S TJhe Show Window \ 

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€> Sen&fa Copies, <90 ccn/s cerc/t. _ 

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? THE SHOW WINDOW is the official organ of The National Q 

Association of Window Trimmers of America, and is the r ecog- e 

i nized Authority upon the subject of Window Trimming f 

£ RICHLY ILLUSTRATED with half-tone plates of show windows ^ 

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I Endorsed bv prominent merchants and trimmers throughout , 

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I Card Writers ^ */ 00 \ 

t Window 'Dressers '^" j 

a ^ Do you ^etue/ette 1s the greatest discovery in the history of ? 

J know that window dressing and card writing. It 

a looks like velvet and is applied with the brush. For covering show > 

e window designs, backgrounds, etc., it is much quicker and cheaper £ 

^ than cheese cloth. One package will cover about 20 yards of space. A 

i ,- Cyj' ccsl Show A 

e er/ ff /t atost vvv* 7 

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h can be made with it as described in this book. A trial will give > 

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J j*iw™« velvelette 77fanufacturing v 

h "idS/icti oretor/'njr f$ A 

e """^T" **" Lompanu ;; 4/2 ftiatto ft u tiding, Chicago 

131 



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